A Quote by Abbas Kiarostami
I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.
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I just write notes all day on my phone, and when I write songs it becomes a patchwork of these smaller notes that I had, mixed with stuff in the moment.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
I’ll write down little lines, I always say, 'K.T.N.,' and I say that to my receivers and running backs and that means 'keep taking notes.' That keeps me alert. That keeps me going. That keeps my drive there, even when you’re taking notes on something that you’ve already taken notes on a million times - keep taking notes.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
I am a sad person. In this world there are people who like major notes and minor notes. I like minor notes.
Gimme the tune. Do I like this tune? Does it sound like another tune that I like? The more familiar it is, the better I like it. Hear those three notes there? Those are the three notes I can sing along with. I like those notes very, very much. Give me a beat. Not a fancy one. Give me a GOOD BEAT -- something I can dance to. It has to go boom-bap, boom-boom-BAP. If it doesn't, I will hate it very, very much. Also, I want it right away -- and then, write me some more songs like that -- over and over and over again, because I'm really into music.
You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.
To me, the biggest notes and the longest notes are the easiest notes.
I would encourage you as a screenwriter to trust your story and don't make notes for the actors or don't make notes for the reader.
I don't think I handle the notes much differently from other pianists. But the pauses between the notes - ah, there is where the artistry lies!!
I started using Notes [on my iPhone] but I do a lot of hand written notes. It's a very slow, accumulative thing.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
Economy: that what you played had to have meaning, not just a bunch of sixteenth notes. You learn to make better choices of notes as you get older.
In the best possible scenario, whenever you get notes from people, they're good notes, and they see things that you wouldn't have seen otherwise, and they make you a better writer.
You never can tell, though, with suicide notes, can you? In the planetary aggregate of all life, there are many more suicide notes than there are suicides. They're like poems in that respect, suicide notes: nearly everyone tries their hand at them some time, with or without the talent. We all write them in our heads. Usually the note is the thing. You complete it, and then resume your time travel. It is the note and not the life that is cancelled out. Or the other way round. Or death. You never can tell, though, can you, with suicide notes.
I keep a journal and just kind of take notes. I don't really so much sit down and write songs - I just take a lot of notes, and sometimes I sit down and put them all together.
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